ALSO IN THIS ISSUE • TECHNICALLY SPEAKING: The Mini DV look

• FREDDIE YOUNG: A Tribute • WHAT'S NEW? The Sony DLP Projector • PRESIDENT'S REPORT: Annual General Meeting • FILM CUPS: The Red Violin Tops Genies

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President's Report Annual General Meeting

Center of Gravity When Cinematographers Go Bod

Technically Speaking The Case for the Mini OV

What's New? Bock Pro;ection Goes Digital

Freddie Young Epic Cinematographer

Film Clips The Red Violin Is Top Fiddle

Action Production Notes CSC Calendar

2 6

12 15 16

18

20

(OVER PHOTO: Cooo~ ollebzUft I'ISUD~

1999 ANNUAL GENERAL MEETING: PROVIDING VALUE TO OUR MEMBERSHIP

The CSC Annual General Meeting in Toronto on Feb. 8,

although with only a small attendance, was one of the most interesting in recent years, centred largely on the upbeat financial report and prudent recommendations of Treasurer Phil Earnshaw esc. While noting that "over the past four years we have become the most financial· ly stable organization that we have ever been," Phil

2 CSC NEWS March 1999

coupled a call for continued care in spending with an acknowledgement of the Society's ongoing responsl· bility to provide value to our membership.

I wish to point out first and foremost that the CSC's financial position is sound. At the beginning of 1998, our balance sheet showed retained earnings of S85,902, a figure too high for a non­profit organization to carry from year to year but which clea rly demonstrates the success of key esc opera­tions such as the magazine,

the directory, the Awards Gala, and our educational courses. Most of our under­takings have been breaking even or achieving a small surplus, membership Is up a bit and Administrator Susan Saranchuk has been more successful in collecting dues and other revenues than we have ever been in the past. Nevertheless, the need was obvious to invest more of this money in staff to help, as Phil put it, "run some of our operations on a profes­sional rather than a volun­teer basis.• There is certainly

· no question that our past decisions to contract a pro­fessional editor to publish our magazine and to hire Susan Saranchuk full-time as administrator and co-ordi­nator of the Awards Gala have paid otr in a bigger and better Society.

Last summer, CSC News Editor Don Angus was given extra responsibilities for communications and ed­ucation, and his july trip to Vancouver resulted in a series of special articles for the magazine and led direct­ly to important membership recruitment of several Vancouver DOl's. These and other "'startup" and "over· lap" costs have resulted in a year-end operating deficit of $33,725, leaving a surplus from retained earnings of $52,177. Thus we are still in good. shape, and our budget for 1999 predicts a small operating surplus, assuming all members pay their dues.

However, partly because of increasing costs in several areas of operation, such as magazine publication and the staging of the Awards Gala, the meeting approved the treasurer's recommenda­tion that membership dues be increased for the first time in over 10 years. Effective jan. I, 2000, the

increase will be $15 for Full Members, raising their dues to S 140 a year, and S 10 for Associates (to $100) and Affiliates (to S75). Annual fees for Corporate Sponsors wiU be increased by S25 to $700.

Phil estimated the new fees will bring in an addi­tional $6,780 a year. The extra money will not only help us comfortably main­tain our current level of pro­grams without, for example, needing to raise immediate­ly the price of Awards Gaia tickets and course fees, but it will also enable us to plan new events, courses, and news-gathering trips that are important to our status as a national organization.

Membership Chai r joe Sunday reported that total membership increased by nine to 543 by the end of 1998, with 131 Full Mem­bers on the rolls. There were 18 Full Life Members, six Life Associate Members, 270 Affiliates, 114 Associates, and four Honorary Members.

The meeting was advised that the Auditors are the same as last year: Bob Rocking esc and Winston Upshall.

A minute of silence was observed for members who died during \998: Fritz Spiess esc, 73, of Toronto, one of the founding mem­bers of the Society in 1957 and perhaps its greatest champion; Norman Keziere esc of Victoria, B.C. a retired, award-winning cameraman whose career included the military and the travel industry; Noel Archambault, 37, of Vancouver, an expert in IMAX 3D cinematogra­phy who was killed in a tra­gic air accident in the Galapagos Islands; and

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lan Mathe~on esc, 81, of Almonte, Ont.. whose film career sta"ed In 1937 as a clapper boy for legendary OOP freddie Young on \ 'ictorla I~ (,rtat

1\o nominations were received for the eAecutt•c board. The current exec­ull\'t', "lth the e~ceptlon or •1ce-pres­ldent Bert Dun~ esc and secretary john Holos~o esc, agn.;ecJ to serve for anoth· er yea r. Richard Stringer esc has assumed the position or vice-president and David Greene ~ Is our new sec­retary. I would like to express my thanks to ali the members or the exec­utive board for their hard work over the year.

Tire Definition of Plrotograplry: Wlrat Do You T1rink?

Wilson Markle nc (Hon), a board member of the Academy of Canadian Cinema and Television, asks lor In put fro m esc members on whether the current dcllnltlon or the J>hotographic cralt categories for the Gem I nl Awards are stili current, relevant and proper. I he ddlnitlon goes li~e this:

"l'hotography, the terrn. applies to the ~ntlre process or ren~ng optical om~gl-s on to photosensiti\e surf~ces lor diSpla) In the making or a mov­Ing picture. Photography, the craft, invoiH"i such technical roncems as lighting. camera, lens, film stock or light wn>ltlvc device, and such tech· nlquco, a~ camcrn angle, distance, and movement. Sign ificant to each image and the relation o f images are com1JO· \hlon, rorm, co1our, contrast ratio, and motion. l'hotography also appiiM to the ~nllre procedure for maiJng moving pkturcs for theatrical projec­tion or tdcvision ~;ewing. that ln<lude\ photography, processing. \tanner trander, colour rorTKtlon, duplication, and finally; display. •

WII\On as~ whether the above def­Inition lndudcs future photographic cr,olt wmldcratlons. Should depth and interactlvlty be added. or comput­er gr,ophlc~ be considered? Any suggcs­llons wmol(l be appreciated. •

"Filmmaking is a series of compromises and happy accidents, and my greatest thrill is watching all the elements of a story come together in the edit suite"

' \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \

Filmmaker Patrick lobzun seldom has both feet on the ground. When he's not ot the controls of on airplane, the Windsor, Ont.-bosed cinematographer and pilot is taxiing o new film project for takeoff. He's accumulated over 20 years experience in corporate, broadcast, documentary and music video cinematography, winning on Emmy Award along the way for the 1988 PBS show Jimmy Cliff. He shot the 1996 independent feature The Cockroach That Ate Cincinnati, o Windsor­born comedy that charmed the Toronto International Film Festival, and now he's putting the finishing touches to his own indy, Center of Gravity. Here, lobzun tells the behind-the-scenes story

of· · · When Cinematographers Go Bad ... and Become Directors!

The I ().per<ent chance of rain has become a full· Center of gravity or •e.g. • Is a term used to describe the blown summer thunderstorm, the beer and munchies point of balance in an airplane: too much weight forward have run out, and the cast and crew are waiting for or aft of this point affetts the aircraft's ability to Oy. In life,

the director to make the call. as in aviation, one needs to maintain balance to go for-"OK, let's wrap out!" I sigh. This is the second time this ward. The main character in the film, Eric Stahl, (played by

scene has been scrubbed due to rain, and Robert Scott) is attempting to flnbh building an aircraft as now one of the actors is heading to his life turns to mertle. Formerly a member of a major rock II' Alberta for three weeks and DOl' Ted band, Eric's musical ride ended 20 years ago due to a scan·

·~e~- . Lindsay will be unavailal;d:~~~~~~~:~ ::rdll~l:~':::eEi~~c';a:r::~~;~f:~:::~ ;; (Cih rll: HOI>.~ ~lat,.~llilelelwdhlVI!!}. s er putt ng au ence. n s source o an n< ustna st1 p a-

pontoons on tographer is more clients turn to digital acqui· the dolly and S~llllf..nlf"\;;an~house apartment/studio Is scheduled for

r ..J:::;,~~c;:~tjaernolition; creditors are houndlng him; his girlfriend is '- pressuring him, and ... you know.

I wwrlld to direct a feature!

When I started the script for Center of

Gravity, I envisaged a with a

tape finish In three months for would have been feasible if it had been a "teen

slasher fll m"-you know, put 12 teenagers In a remote house and kill 'em off one at a time ... 90

minutes of fun! ... one fuse box, one location! But no! This script had 50 speaking roles-30 on­

camera plus 20 voice-over parts-22 locations, a '60s 1V show, air-to-air shots, classic cars, dogs,

and one dead pig. Plus, it would be shot In the Third World (Windsor, Ontario). Seven months

of weekend and evening shooting was needed to accommodate cast and crew skeds. The

budget went Into six figures very quickly. COmedy is not pretty, nor Is It cheap!

Added to the challenge was

Shooting in Super 16 was an easy decision since I ha,·e an Aaton XTR, as well as a Betacam SP camera to supply multi<hannel audlo and time-code. Since the shooting schedule was so long, constant access to the gear and loca­tions was critical. I had been buying props and securing locations during the previous year and also building my

gear, Including a dolly and a small crane.

Kodak 7245 was used for all 7274 for lnterij)rs and night exteriors. The Lab in Toronto Inc. did a superb job with processing and Eyes Post handled the letterbox transfer to Beta SP with KcyKode burn-In for the video dallies (or monthlies!).

My main source of income Is shooting tape and film for corporate and broadcast lV, so when Ford asked me to shoot their '99 trucks at a California ranch in F!!J!Jl'oll~78 I took a break from pre-production !1111-ll<~fo searching the local lenses, I found a mint 1973 with 73,000 miles on the odome-ter_!Qr-rireat price. This would be the Ideal car for Eric. As

did a test drive around Santa Monica, I thought l needed a reason to justify the expense (and the complications of shipping a car back to Canada). I opened the rear hatch and discovered a copy of Frank Capra's biography. A sign!

esc NEWS Match 1999 7

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I did !he deal (Ford refused 10 ship my Volvo back 10 Michigan with !heir

'I vowed I would not repeat the mistakes of other

No, I mode mistakes.'

and added this classic to my pictu re ca r ncet,

wh ich now included a 23-fool m01orhome and a 1981 Checker limo.

. ~-

A VW converlible was supplied by our locallon audio dude, Stuart Adamson, for scenes wilh Eric's girlfriend, Sylvia (Leah Osler).

Owning all !he primary picture vehicles (and one airplane) seemed like a good idea allhe lime, but i1 was jus! one of I he many lessons I learned:

••• Lesson No. 1: Don't 11se classic cars

liS plc111re velllcles. One scene called for Eric to drive

away from his mechanic's garage In !he 1800ES, but i1 kept slalling and puking oil. A quick ad lib by the actors

•

saved 1 he scene as I he car barely made H ou1 of frame. The Checker, d riven by Repo (Chrls1opher McNamara), a burned ou1 ex-roadie characler, was rear-ended by VJ's van in a scene In a gra\"el pil, blew a brake line and had to be jump-slarted for the res! of the day.

·~ .. . ... NOT TOO FAST! "Th<t Cherhr was reor·tnded by VJ's von, bltw a brah Nne anclhad lobe jump·slarted for the rest of the day.• Above PATRICK LOBZUN: •Wilo need.s a house anyway?•

a esc NEWS MJ•ch 1999

Lessou No. 2: Dou't usr your owu IIOIISe for fl IOClll i(}ll.

My house served as Eric's mot her's home. This 75-year-old stone house on the Detroit River was the perfect locatlon~xceptthat my family lived there! Try to explain the concept or a "hot set• to a four-year-old or the aes­

--~• thetic value or c stands In a living room to your spouse, and you learn.

U!sso11 No. 3: Buy stock foot fig~ of fllrcrafl atrolmtlcs.

J\s a private pilot for the last 12 years, I was excited about shooting the aviation sequences. However, when the B-camera and mount failed to work, I decldl'<l to shoot some minor aerob.1tlcs In the cock­pit handholding the Aaton. I had done spi ns in a Cessna 150 a~ a requirement for my licence and had flown with the Snowbi rds. This would be a piece or cake! Camera pilot Karl Kll nck suggested we usc his Tomahawk trainer since the Instrument panel would match one

of the picture aircraft. rhls puppy would spin twice as fast as anything else and would pull out or the dive at four to five Gs. The Aaton now weighed in excess of I 00 pounds­after four takes, my shoulder was toast for days.

U!sso11 No. 4: Do11 '1 msr veynarlfiiiS 111 scmes wltil <l~ad aulmfl/s.

During production, I coerced many or my pilot friends to play roles as members of H.A.M., a Octltlous avi­ation club whose motto Is "When Pigs have Wings.• Mter the demise of Lindy, the club's porcine mascot, dur­ing a parachuting accident, the group holds Lindy's funeral (complete with piper) In an airport hangar. ilowevcr, when actor Daniel Bonk, playing the character of Pastor Simon from the Church of the Obvious Assumption, opened the casket to allow the mem-

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esc NEWS Nlorch 1999 •

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bers to pay their last respects, he saw Lindy's remains laid out in the best roast pig fashion and ran orr camera in an attempt to keep down his lunch. He played the rest of the scene with his eyes closed. ...

Having been OOP on several low· budget features (Tire Cockroaclr 71rat Ate Cincimrati and others), I vowed I would not repeat the mistakes or other writer-directors. No, I made o/lrtr mis· takes. I was fortunate in having a great team of family and friends who work in the business, and other friends who supplied aircraft, hangars, offlces, fac­tories, props, and craft service.

Although, in the end, I had to shoot 70 per cent or the film myself, Ted Lindsay pre-lit some locations so I could direct the talent from the eye­piece. The cast was fantastic and some did double d uty as crew members.

At the ti me of this writing, I'm happy to be editing. The actor's per­forrnances are great, the pictures look good, and we are working with some kick-ass m usicians on an original soundtrack. Filmmaking is a series or compromises and happy accidents, and my greatest thrill is watching all the clements of a story come together In the edit suite.

By contrast, my next script has only three locations and three main characters, with most of the story tak· lng place in a house trailer. Simple! But it would have to be a 1959 Airstream ... and, well, maybe I could add a shootout, yeah, with a bungee jump from a chopper, and ...

TIIEENO e

CREW Writer/ Director/ Producer: Patri<k lobzun Cinematographers: Ted lindsay, Palri<k Lobzun Editor: Palri<k Lobzun l st AD: Christopher Pi<kle Associate Producer: Mary M<Namara Line Producer: Ross Milne Audio: Stuart Adamson Sound Design: S<olt Barlow Honeywagon Driver: Patri<k Lobzun

TECHNlCALlY S .... gking

"Fast handheld placement, freewheeling, quick access to many angles, tilt and adjust on the go and just keep rolling"

-Richard Stringer esc

, 2 esc NEWS Nolen 1999

His nomination for a Gemini

last fall put a special feather In the figurative cap Richard

Stringer esc has worn as a professional cinematographer for 30 years. Joining six other film and video shooters­with their high·end cameras-In the

Information/Documentary l'rogram or Series category, Stringer earned his selection with the skilful images he coaxed out or mini digital camcorders that were not designed for profession­al work on a succe;sful television

series. In fact, he told a jan. 25 CSC meet­

Ing, "I don't think even Sony or Canon know what market these cam­eras fit into!"

Stringer's Gemini nomination

sprang from his work on the first season of Exhibit A: S<'Crcrs of Forensic Science, a Kensington Communi ­cations production for Discovery Canada on which producers Robert

Lang and Bob Sandler wanted •a dis· tlnctive visual design that would work with our limited budget.•

He said his friend llenry Less esc got him involved In the 13-part series, which reviews actual crimes and illus­

trates Ute science of forensics with documentary interviews and dramatic recreations. Actor Graham Greene nar­rates the story from a studio set.

"Henry was too busy to shoot It himself, but he was hI red as visual

designer and made an appearance from time to time, shooting some stu­dio sequences with Greene. •

Stringer, as pan of his award-win­ning experience in film and video, had

earlier used small-format cameras with tLess when the la tter preferred Canon's '1118 cameras on certain corporate pro­lects. "I think llcnry saw these cam­eras as an alternate look, with the slow

utter-speed option not only creating an Interesting visual element but also helping to hide the Inadequacy of HiS. llenry also liked the very small, mobile, unobtrusive camera, and the advantage of cost-effective tape (In one-hour length) which allows you to

shoot hours of testimonial rype inter­views and get 1 hose perfect tittle bites of commentary which the editor can use to great advantage.•

At the beginning of Exltibit A, •we decided to blend Betacam SP with the

new digital mini OV 6mm format uti­lizing Sony's YX-1000 'prosumer' camcorder, which was fairly new on the market-although I had aiieady used II with Henry and another com­mercial producer, Ron Chapman. It certainly was much beller than HiS, less pronl.' tO dropouts, and still offered slow shuner-speed effects.

• After we shot the Exhibit A pilot, the producers li ked the unique look of mini OV, especially when shooti ng at

'If you add a little professional lighting the results can be

surprising. Some of the drama shots look amazing! '

slow shuuer S(X"eds. II certainly didn't look bcner than Octacam, just differ­ent. Perwna lly, I was uncertain about the format and was concerned that it didn't cut very well with the lletacam. The sharpness and contrast compo­nents of the formats are quite differ­ent.

"But everyone was so pleased with the mini DV Images and the unique dynamics of such a small camera, the last slx shows of the Orst season were shot exclusively on mini DV, except for Graham Greene on Retacam SP. Even then, his Image-on a monitor in a courtroom set-was double cov­ered on the VX-1000."

As he >Crecned examples of his work on E.xlli/Jit A, Stringer told the esc meeting: •wJth this format, we decided not to try to compete with normal 1 v coverage, but to shoot things differently, make the most of the camera's portability and add abstractions to the visuals-Dutch tilts, shadows, reflections, visually off­beat shots. We wanted to have a dif­ferent look but at the same time try to avoid the MuchMusic syndrome of moves for the sake of moves.•

Nothing was shot at the camera's norm:1l 1/60th capture rate, he noted. The docu mentary interviews were

covered handheld at a t /30th shuner speed, using the camera's •steady-shot" feature, at unique angles and tills. At l/30th, ••up flap' Is not nottceabl~ and the slight motion artifact offers more of a 'fllmlook.'

"The drama sections were shot as volct-over

" ' ' recreations, which Is more fll of a flashback style rather than sync-sound prlmctlme ,_. TV drama. We use a lot of movement, abstract angles, and slow-shutter blur. Most of the drama was shot at II 15th. The 1/Sth and 1/4 settings only work In wide shots, on graphics and situ­ations where maximum blur Is appropriate. In dlgi- w WOIIK: Sllootiog 0 " ... for tfot Discov«y c.oda series £Di6i1 A: tal 6mm, they become a dis- Seaets of forNJic SO..Ce. tinctive tool that help to obscure some of ou• violent crime scenes."

Stringer said that when the pro­d ucers decided to ~hoot a second sea­son, the Canon XL- I mini OV camera was available. It featured interchange­able lensc> and 10und options as well as in-camera speeds of !/30th, !/15th

CRIME DETAil! fr .. lfols ,_,_set, Graloc. Gr- loosts tht Discovery Coooda series Edi6ir A: Seatts of forullt SdHct. On ORJ(I5ft page: Rkloord Strl"9t' esc d.....,strotes the leo­'"'" of tht two mlol DV co11tros he uses, the (oooo XL-I (ltlt) and the Sooy VX·l 000.

and 1/Sth, although, unlike the Oxed· lens VX-1000, II did not offer a !/4th shutter speed. After consideration of size versus quality, the Canon XL-1 was chosen to shoot Interviews, and later the studio shots of Graham Grel.'ne as welL The VX- 1000 contin-ued to be used for drama. Both are 3CCD cameras.

In post-production, the 001' said, •we take the original 6mm tapes and ltansfer thl.'m to !leta SP to get a stable format with proper SMPTE time code. The shows arc edited on the Media 100 and on-lined at300 kilobytes. The resulting Betacam Sl' goes one more generation with the addition of closed captioning, then Dl>covery packages the show on to Digital lletacam.

"I find the broadcast Image Is pret­ty close to the original tapes, but the more you add tape-to-tape genera­tions, you are more likely to bl.' evalu­ating a Inferior product. This format does not work well with analogue generation loss. •

How does he "ally fel.'l about the small format?

"I love It and I hate it. The bottom line: No way does mini DV have the resolution (of Betacam), and it has a real contrast problem. But It does offer a unique look which is softer-in bl.'tween film and Uetacam-and it also orrcrs very saturated colours.

CSC NEWS March 1999 13

• ®

I , ' I -P.AN.AV/5/0N

I ' I I

C A N A 0 A •If you try to compete with sub­

jects which are common to TV, like talking heads and news shots, the mini DV images can display a 'cam­corder' quality- although some shots, especially closeups, look amazingly good. Certainly, an average viewer watching a program completely shot on mini DV might not notice any problem. Most TV audiences are main­ly interested in content and don't con­cern themselves with the visual quali­ty as much as we do. •

The mini DV works best, he con­tinued, with controlled lighting In a

specified area, but •sunlight is too contrasty, and It's not great in a demanding documentary situation. Sometimes It can be cut with Betacam, especially the older cameras, but there will always be shots that just don't work." He called the format •a bit unpredictable. •

Stringer explained that he Is Interested in the format because the small camera Is portable and allows one-hand mobiiity-•fast handheld placement, freewheeling, quick access to many angles, tilt and adjust on the go and just keep romng.•

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lie screened examples that included: • A moving shot across the studio set taken by Henry Less on roller blades; • A young woman being chased down a night of sta irs by a knife held In front of the lens by Stringer him­self; • A car driver's point of view taken by Stringer leaning over from the back scat; • A shot in a moving car of the driver and fron t-seat passenger, taken by Stringer from the back seat, holding the mini camera ou tside and through the passenger-side front window; • A unique low angle off a desk dur­Ing an Interview; • A shot looking down on a child on a swing, taken with the camera mounted on a pole.

He also listed other advantages, such as shooting a greater number of dramatic setups with a small crew and fewer vehicles, "Investigative or surreptitious• shooting, and the abil­Ity to be unobtruslve-•getting sub­jects relaxed and talking.•

Stringer reiterated that mini DV cameras are •contrasty• and don't have Betacam's resolution. and he also dted problems with the design of focus, zoom and other controls­• a lot of buttons which can get bumped and shut things down.• However, he later told CSC News that OpTex of England has designed a new manual zoom lens for the Canon XL-I. Klngsway Motion Plctwe in Toronto is the Canadian distributor.

• Another problem I originally noticed with the VX-1000 was limi­tations when shooting low-level available light, which forces you into noisy gain settings. But now I realize if you add a little professional light· ln.g-1 had 200w lnkles on dimmers and used reflector floods with 40w bulbs-the resu lts can be surprising. Some of the drama shots look amaz­Ing!"

(The esc than ks shooter Richard Meech for the Sony VX-1000 and Terry Crack at Cinequip for tbe Canon XL-1 used for Richa.rd Stringer's presentation. And than ks, too, to Lori Longstaff for assisting.) •

Wt;.11's Dew?

Back Proiection Goes "der ito breakthrough tool for the world of movie- DOP Gale ToNersoll

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The makers of the feature Pus/ring Tin, to be released this spring, discovered during last year's

Toronto shoot that a Sony Digital Ught Projector (DLP) was a unique, cost-effective method of filming realis­tic background scenery.

Using the Sony VPD-StSOOQ pro­jector, Californ ia -based DOP Gale Tattersall was able to shoot scenery on a single camera, transfer the footage to a Sony Betacam SP platform and play back through the projector. It was the first time the Sony DLP pro­jector had been used for such an application.

For Thttersali, the process was an improvement over traditional back projection, which requires the syn-

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esc NEWS Marth 1999 ''

In her President's Report last month, Joan Hutton esc wrote: "Wrapping what was surely one ol the greatest careers in the history

of cinematography, legendary DOP F.A. (Freddie) Young bsc asc passed away in London on Dec. 1 at the age of 96." Noting Young's

three Oscars among his hundreds of credits and awards, Joan promised a lull tribute in the esc News. This month we are pleased

to publish the profile written by John Willis lor the BSC Newsletter, along with excerpts from a couple of London newspapers.

Sir David Lean once wrote: -rhere Is I printed all 6,000 feet of 111e Mall ill Ill~ 11934, Victoria tilt G"at In 1937 and

one more strenuous job than th~ Moo11, the first British science fiction Sixty Glorious Years the following year.

director, the cameraman. Freddie film. He a I so photographed Noel

Young has the stamina of Coward's /Jitter Sweet In

an ox and a knowledge of 1933 and Goodbre Mr Cl•ips

the movies which has been with Robert Donat In

more than useful to one or 1939, as well as honing

two SO<ailed directors. • his skills on such films as

Sadly, that energy and Wl•ile0tcyo(1929), Canaries

expertise was extinguished Sometimes Sing (1930),

just before Christmas, Rookery Nook (1930),

1998. The entertainment London Melody (1937) ...

industry lost a iong-serv- the list is prodigious.

ing talent and the British Freddie's partnership

Society of Clnematogra- with Herbert Wilcox end-

phers lost Its llrst-cver ed at the beginning or the

president, who was still war when he returned

promoting its Interests from Hollywood after

right up until the time he photographing Nurse Edltll

died. He was 96. Frodolo y .... Oil ISC ASC Cavell with Anna Neagle

Frederick Archibald for RJ<O. Back in England

Young was born in he joined the Army

Marylebone on October 9, 1902, to As second cameraman, he pho- Kinematograph Service, gaining the

Henry and Anne Young. He was the tographed Tl1e Flag Lieutenant in 1926 rank of captain.

seventh of eight children and left and Tile S<Jmme, but his first film as He photographed 49th Parallel

school at 14 to help support the family. DOP was VIctory, shot at Worton Hall for Michael Powell and Emerlc

As a young boy, he was a more rhan Studio, l>lewo•th, In 1927. l'ressburger in 1?41 and Carol Reed's

useful footballer and boxer, but it was U1e box Brownie camera that really fuelled his Imagination and after a brief

spell in a munitions factory be got a job as a tea boy at Gaumont Studios In Shepherds Bush in 1917, which meant trying his hand at everything from

sweeping the laboratory floor to devel­oping and cutting fllm and turning the

camera by hand. lo 1918, he developed and hand-

Freddie Young's work and reputa­tion brought him to the attention of

Herbert Wilcox and throughout the 1930s he became the producer's prin­dpal cameraman, forming a formlda·

ble partnership at British and Dominion Studios. His initial effort

for Wilcox on A Peep &hi11d The Scenes led to photographing a number of fllms involving Anna Neagle, Wilcox's wife. Among them were Ntll Gwynn In

Young Mr Pitt a year later. Also during

the war years, he spent time directing as well as photographing several army training films.

After the war, Freddie consolidated

his position as one of the British film industry's major talents when he

spent IS years as chief cameraman at MGM-Brltlsh Studios in Boreham· wood, working with directors of the

calibre of John Ford, Vincente

Minnelli, King Vidor and George Cukor; and stars of the ca libre of Ava Gardner, Grace Kelly, Clark Gable, Gene Kelly, and so on.

He was nominated for an Oscar for the first time for Ivan/lOt in 1952.

As well as working on distin­guished fi lm< with major craftsmen, Freddie also nurtured such camera tal­ems as jac~ cardiff, Freddie Frands, jack Hildyard, Skeets Kelly and Nicholas Roeg, to name but some who sNved an apprenticeship with him, benefited from his wisdom and helped further the reputation of the British camera technidan.

At an age when many would be considering easing their way towards retirement, Freddie left MGM to free­lance. Thus began the greatest per­iod of his working life, including a long-standing relationship with David Lean.

Their collaboration was consolidated when Fredd ie Young was al· ready 60 years old and It was a partnership that earned him Academy -illl-.1• Awards for Lawrence of~­Arabia, Doctor Zllivago and Ryan's Dauslun.

" i loved working with David, • said Freddie, "because he was I 00 per

ebrated his Oftleth anniversary as a cameraman and practically every star director and producer within flying distance, from Elsie Randolph to Ava Gardner, from Peter O'Toole to Sean Connery, from li erbert Wilcox to David Lean, from Sam Spiegel to llarry Saltzman, came to wish him well. He has worked with most of the great stars and nearly all the great directors and there are very few who don't love him, for he is an artist, a master craftsman and a very gentle man.''

In his long career he did much to improve the status of the cinematog­rapher on films made in Britain. When the BriUsh Society of Cinematographers was formed 50 years ago, he was elected Its first pres.

cent behind me whatever Omar Sharif and Peter O'Toole In tho tpk lowr-• of Arohlo. I would try to do pictori-ally.•

If Freddie Young had lit no other motion picture, he will always be remembered for the 1,000 feet of 70mm film which introduced Omar Sharif in Ltnvrt'nu of Arab/11. Uowever,

in his freelance days he nlso chalked up notable successes with films like /ndiscrut, Lord jim, Nlclrolas am/ Alexandra, for which he was again nominated for an Oscar, "11t• Battle of Britairr and the Bond film You Ouly Lil'l' r .. ice.

In his book about the nlming of 17te Battle of llritain, respeCted author and film critic Leonard Mo,lcy admir­ingly say1> of Freddie: "In 1967 he eel-

ident. In 1972 he published 17•~ Work of the Motion Picture Cameramarr.

In !970 he was appointed OBE. Another honom he was proud to

accept was the American Society of

Cinematographers' Lifetime Achieve­ment Award which he received In 1993. ~le also received an honorary doctorate of the Royal College of An the follow­ing year and in 1997 was awarded the Royal Photographic Society of Britain's Gold Centenary Medal.

Young's tremendous achievements as a cinematographer undoubtedly retarded hi~ C":'lr(l('r as a director, but in 1985 David Puttnam gave him the

opporrunlry to direct his first fearure film, Arthur's Hallowed Crowrcl.

In retirement he concentrated on painting. and his home in Roehampton featured many of his effortS.

Freddie was first married in 1927 to Marjorie Gaffney; they had a son and a daughter. She died in 1963. The next year he married joan Morduch, whom he met when she was an assistant cut­ter o n Lord Jim. She survives him \\1th their son, David. -John Willis, jan uary, 1999.

EDITOR'S NOTES: o Freddie Young's memoirs, called

Si!VCilty Ug/Jt Years, A Life /11 MoYies, were pubUshed by Faber and Faber last month.

o English-born Jan Matheson esc of Almonte, Ont., who died In hospital last October at the age of 81, started his film career in 1937 as a dapper boy for Young on Victoria tire Great. In 1938, he was part of Young's crew for the film­

:......-~ ing of CoorJb>'l' Mr Clrips. o Clips from obituaries

in London new1opapers: JI "Young's artistry was ;? apparent to anyone who

saw his work, perhaps most l notably in Lawrmce of Amb/11, which contains one of the greatest shots in cine­ma, that in which Peter

O'Toole and h.ls guide gaze at a figure slowly emerging from the heat haze of the desert. TI1e shot lasts for three min­utes. Young got it in one take.•

"He ... had mixed feelings about

directors: 'Those limelight hogs think they're God. VIncente Minelli Inter­fered with n"t'Tyfhitrs. George Cukor talked for hours to the aetors. But nice chaps. Gentlemen .'"

"'I got on very well with David (Lean), but he was inclined to take etedit for everything. Oh, he'd pat me on the back, give me a hug, but he sel· dom divulged my contributions to the world.'" •

esc NEWS Morel> 1999 17

THE RED VIOLin IS TOP FIOCLE AT GEniES Best OneiiCI!ograp~y Among Eight Wios

Achievement in cinematography, which went to Alain Dostie, was one of eight Genies picked up

by 111e Red Violin at the Academy of Canad ian Cinema and Television's 19th annual movie awards show last month. The Rhombus Media feature had collected 10 nominations.

Also nominated for best cine­matography were Toronto DOP Douglas Koch esc for Last Nigllt, Glen MacPherson esc of Vancouver for Regeneration, esc associate Gregory Middleton of Vancouver for Tile Falling, and jan Kiesser for Such a Long /OIIriiC'Y.

Tl1e Red Violin also won Genies for best picture (producer Nlv Ftchman), director (Francois Girard), screenplay (Don McKellar and Francois Girard), art direction (Francois Seguin), cos­tu me design (Renee April), original score Qohn Corigliano) and overall sou nd (Ciaudela Haye, jo Ca ron, Bernard Gariepy Strobl, Hans Peter Strobl).

This year's Claude jutra Award for direction of a first feature rum was pre­sented to Don McKellar for Last Night. The award, created in 1993 to recog­nize talented new Canadian filmmak­ers, was initiated by the Directors Guild of Canada, whose members had long wished to honour the legacy of pioneer filmmaker Claude jutra who died in 1987.

The Blockbuster Golden Reel Award was awarded to Les Boys, a Quebec comedy whose box office receipts totalled $6.8 million dollars during the qualifying period of Oct. 21, 1997, to Oct. 20, 1998. The film is a Mellenny Productions production, produced by Richard Goudreau and distributed in Canada by Lions Gate Films. This award is presented annual­ly to the film which has achieved the top Canadian box office gross within

'• esc NEWS March 1999

the Gen ie Award qualifying period. The best actor Gen ie went to

Roshan Seth for S11cl1 a Long Jo11mey. Best actress was Sandra Oh in Last Night.

Tt-E ASC AWARDS Three CSCeu lo ... hMiig

Three Vancouver-based esc mem­bers were among the nominees when the 1998 American Society of Cinematographers' theatrical and TV honours were handed out Feb. 21 during the ASC Outstanding Achievement Awards banquet.

Thomas Burstyn esc was nomi­nated for Wl~en Tntmpets Fade in the movie-of-the-week/miniseries catego­ry, along with Ron Garcia asc for Tile Day Lincoln Was Shot; Michael Goi, Tl1e Fixer; Robbie Greenberg asc, Wine/Jell; and Shane Hurlbut, Tile Rat Pack.

Episod ic series nominees were Robert Mclachlan esc, "Skull & Crossbones," Millemzium; j oel Ransom esc, 11Traveler," The X -Files; james Carter, "In1agine," Micllael Hayes; Hugo Cortina, "Gypsy Eyes," JAG; and Bill Roe, "Drive," T11e X-Files.

RECOAO YEAR FOR FLm AnD TV In onTARIO Foreign Procluctloas Way U,

Film and television production in Ontario generated a record total of S743.2 million last year, reports the Ontario Film Development Corpo ration, an increase of S I 08 million or I 7 per cent over the pre­vious high of S635 .1 million set in 1997. Toronto was again the cent re of production activity, accounting for $684.5 million.

Domestic production actually dropped last year, to S396.2 mill ion from the record S4l4.3 million in 1997. However, not all the figures

are in, the OFDC sa id. The domestic total is expected to grow as compa­nies continue to file in 1999 for 1998 productions eligible for the Ontario film and television tax credit.

Fuelled by the low exchange rate and federal and provincial production services tax credits, foreign produc­tion hit a record S347 million, a whopping jump of 57.2 per cent over the year before. An unprecedented 21 foreign feature films were shot in Ontario in 1998, compared with 131n 1997. The number of foreign TV movies, specials and mini-series increased to 51 from 42.

There were 23 domestic features, a gain of two, while TV series con­tinued to be the leading money maker in the domestic sector with $263.5 mill ion from 51 shows. Seven b ig-budget series-Traders, Total Recall 2070, l'ower Play, La Femme Nikita, Psi Factor, Wind At My Back and Gene Roddenberry's Earth: Final Conflict-together con tributed $137 million to the Ontario economy.

FEATURES 1"\RE "THE HEART OF A HEAL THY AL.DO-VISI..J.AL. a..J.. n..t=E" IIG( Presldetrt rea, EMpire 01141

Canadian television policy "has been an outstanding success," says Allan King, filmmaker and president of the Directors Guild of Canada, but "feature film policy has been hog­t ied.~'

"Canadian films have less than one per cent of screen time in English Canada," King said in a jan. 21 speech to the Empire Club in Toronto. "The U.S., by contrast, offers about two per cent of its screen time to the work of all other countries of the world com­bined."

King said that "in television drama we do better. Over the past few years, through a combination of regulation and public funding, our television net­works have been exhibiting about 3 1/2 hours of original Canadian drama a week in prime time .... The growth of Canadian content on TV is aston­ishing. It is the direct o utcome of pru­dent, incremental government policy."

But, he added, "we have not yet created a healthy base for Canadian feature films."

He explained: "Theatrical exhibi­tion and distribution fall under provincial law. Eighty-five per cent of Canadian distribution is in the hands of six major Hollywood stu­dios. 1\vo of them own almost all Canadian theatres. As an oligopoly, the majors dominate every aspect of the entertainment world- from film and television production to music recording, publishing, broadcast and cable TV and theme parks. Their sole obligation-quite rightly-is to their shareholders. The majors are all but unreachable by public pol it)'·

"Therefore it has been remark· ably difficult to affect the structural economics of feature filmmaking in Canada. The policy instruments so successfully applied to create a Canadian television industry have been impossible to apply through provincial theatre acts."

King noted that "we have achieved outstanding success with such films as Crash, Tl~e Sweet Hereafter and Tile Red Violin . . . . But far too few of our features reach the

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market with the promotiona l sup­port they deserve. We have at last got one mini-major distributo r with Alliance Atlantic. We need at least two or three more. That, too, will happen only through government policy.

"Why are feature films so impor­tant? Because feature films are at the heart of a healthy audio-visua l cu l­ture. They are its most creative and rewarding expression ... . Without a vibrant feature film industry, we will always and inevitably export our best talent. It is a culturally devas· rating loss."

SHORT SUB..JECTS Dad Wins Gold . . . The one·

hour documentary Dati recently received a gold medal at the New York Festiva ls International Television Programming and Promotion Awards. Among several other honours, the show earlier won a best direction Gemin i Award for Chris Triffo esc of Regina, who also shot the film, and a best editing

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Survivors J)rcmicrcs Survivors, a three-part reality-based series from Regina's Partners in Motion and Single Spark Pictures of Califo rn ia, premie red on The learning Channel last month. The three segments, directed by Chris Triffo esc, are entitled Technological Terror, Evil Acts and Nature's Rage. The series, produced for Discovery Communications, tells the stories of individuals who have lived through some of the world's most devastating disasters.

Moving Picture ... Toronto shooter Derek Rogers Is DOP on the feature Apartmelll Hrmtillg that Is scheduled to wrap Ma rch 28. Rogers says the thriller feature Cube, which he shot and which had a good first­run tour of Canadian and U.S. cine· mas last fall, is still p laying in japanese theatres after 12 weeks and counting. e

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CSC NEWS March 1999 19

ThE ADDAMS FAMILY (series); Op: Michael Balfry; 2nd: lane Koch; to May.

EGGARS & CHOOSERS (series); DOP: Ron Qrieux esc; Op: Ray

Brounsteln esc; March I to November.

N'T L OOK B EHIND You (MOW); OOP: Patrick Williams; B-Cam Op:

Kevin Hall; to March 9.

DuETS (feature); DOP: Paul Sarossy esc; Op: Mark Willis; to March 17.

M ILLENNIUM (series); DOP: Robert Mclachlan esc; 1st: Junlchi

Hosoi/Gillian Stokvis-Hauer; to April 27.

OUR GUYS (MOW); OOP: Brian Pearson; Op: Randal Platt esc; 1st:

larry Portmann; to March 17.

ITH£ 011Tf'R L rMrrs (series); Op: Paul Mltchnick esc; to May 28.

OLTI!RGfiST, ThE L EGACY (series); OOP: Andreas Poulsson esc;

1st: Holly Gregory; 2nd: David Bercovici-Artieda/Harold Bernard;

B-Cam I st: Alan 'Griu' Salzl; to April 23.

P RJNC£ OF M IRRORs-nrE RICH DoNATO STORY (MOW); DOP: Ron

Stannelt esc; March-April.

£1NDEER GAMES (feature); Op/SC: David Crone; March 17 to June.

NOW D AY (feature); B-Cam 1st: Chris Hassen; to April 23, In

Edmonton and Calgary.

S TARGATE (series); DOP: Peter Woeste esc; to Oct. 28.

Ontario, Atlantk B ABY On B ABY (MOW); DOP: Michael Storey esc; to March 4.

CoDE NAME: E T£RNCTY (series); Op: Anton Van Rooyen; to Aug. 2.

ORGET M E N EVER (MOW); Op: Christopher Tammaro esc; Tr:

ichael Tsouras; to March 13.

GENIUS (MOW); DOP: Peter Benison esc; Op: Glenn Warner; March 8

o April 2. rSTORY Is M AO£ AT N IGHT (feature); 1st: Lori Longstaff; Toronto

hoot wrapped Feb. 21; 5 weeks In Finland.

//UTA (series); DOP: Nlkos Evdemon esc; 2nd-DOP: J.P. Locherer;

nd-B: Courtney Graham; to June 28.

£TEll B ENCHLEY'S AMAZON (series); DOP: Alwyn Kumst esc; April 6 to

pt. 30.

PrT PoNY (series); DOP: Barry Bergthorson esc; to March 20, In

Nova Scotia.

STRANGE JumCE (MOW); DOP: Jonathan Freeman; March 8 to April 8.

SuRVJVOR (MOW); DOP: Mike McMurray esc; Ist: Peter Battistone;

·Cam Op: Andrew Potter; to March 3.

OTAL R ECALL (pilot/series); 2nd: Michael Purdon; Tr: Juliet Belmas;

to March 11.

TwiTCH CCTY n {Series); DOP: Daniel Nowak esc; Op:

uc Montpellier; 2nd: Brad Crosbie; to March 26.

20 CSC NEW$ Morch I 999

CSC CALENDAR Schedule of Meetings and Events of Interest

to CSC Members

TORONTO Wed., March 17-Gnequip Inc. invites CSC members to lighting 99, o showcase of new products from Kino Flo, Oedolight, ond K5600 HMI Lighting. Kino Flo president ond founder Frieder Hochheim will talk obout the new Blanket-Lite ond Oivttlite 400, lighting with fluorescents in 320(} ond 5500-degree Kelvin, lighting for blue ond green chromo screens, ond Ultimotte effects. lighting 99 opens ot 3 p.m., with presentations starting ot 7:30 p.m. Refreshments served. At the Trillium Room, Inn on the Pork, 11 00 Eglinton Avenue Eost.

Sat., March 27-(SC Awords Celebrotion. AI the Toronto Sheroton Centre. For tickets, coli (416) 966-6710 or fox (416) 266·3996

FOR SALE: set of 4 loniro Redheads complete with barndcm, wires ond stands oil in o carrying cose; lowell grip kit ... vuriely of stands, smoll butterfly, gaffer grips, etc., oko with i~ own carrying cose. ldeol for documentory shoots ond lroveUing. Peter 416-6984482 or 604· 73(}j)860 or dormont@hotmoi/com FOR SALE: Widesaeen 3Smm Horizon s~ll comero, !rue 35mm IXJOO!Omo, not letterboxed; brond new/mint. $850. Coli (604) 299· 3969 FOR SALE: BL Aniflex 16mm comero, 12-120 Angenieux lens, B· Ioupe, crystol controller, 2x4001t. mags, magazine cover, 2 comero cobles,remote conlrol, ond hard cose; excellent condition. Sholj)Vision video projector, giant screen with stands; mint condition. Sony DXC IJ. 30 with 16x fupnon lens/100 hours, diJecto!'s viewfinder, wireless microphone, JVC BR-422 S.VHS recorder with nme code. Coli George Lo~oi esc (905) 279·5832 or e-mail: geo~ge@ge01gicom.com WANTED: Arri 16BL film comero. Doys at fox (905) 951·5348 or eveningsotvuice (905) 951-6104 WANTED: Used /uri SRI or Arri SR 1116mm comera with three 40(}. ft. mogs, extension viewfinder, Zeiss, Cooke or Angenieux zoom lens, ond used Sochrle1 tripod. Also used Norris lntervulometer or other used intervolometer for use with Arri 2C 3Smm camero. CoO (604) 731· 6620 or fox (604) 731-6684. FOR RESEARCH: I ho~ o collection of Cinema Canado magazines from July, 1976, to September, 1989, and American Cinemotogmpher from August, 1973, to January, 1989, that might be of interest to members doing research or just looking for info. I don't wont to sell them, I just wont to make !hem ovuilable to ony· one interested. Coli Jormo Konlolo (604) 4614160; fox: (604) 263-6545; e-moil: p/oyopic@infinet.net

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